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Knox Chandler

Toxic Delays

Flashback Delay 的 TonePrint

Knox Chandler 的 Toxic Delays TonePrint

With the Flashback Delay, Knox went exploring for a tone reminiscent to his old trusty TC 2290 unit and he got exactly that. Knox also made this TonePrint with the thought in mind that he would use it as a tabletop instrument. He specifically wanted easy access to the knobs so he could tweak the settings as he plays his guitar, keyboard, etc.

其他TonePrints Knox Chandler

简介

TC: What inspired you when you created your TonePrints?
Knox: I think my biggest inspiration was my history with the TC 2290 and tweaking a lot of the parameters in that to create sounds and landscapes which were used on a series of albums and tours I did in the late 80’ties through the 90´ties.

TC: How come you signed up for creating your own personal TonePrints?
Knox: Well, primarily because I’m such a huge fan of the 2290. It’s very true to the instrument and when I plugged into the Flashback, it had that tone. There’s something very pure about it. And then I was also very curious. I was curious to know what I could actually accomplish getting inside the brain of this thing and tweaking stuff out, what it could do. There’s just so much other stuff and combinations of different parameters to create different tones.

TC: In your opinion what is the single coolest thing about TonePrints?
KNOX: I think the single coolest thing about TonePrints is that each artist goes in and plays around with them. I’m a fan of seeing what other people are doing, I mean, how does their brain work? Some of the stuff that I was doing with the TonePrint was also a lot that I’ve been experimenting with the Memory Man trying to create the same kind of features that I can get on a Memory Man but put it in the TC box.

TC: How did you go about creating this specific TonePrint?
Knox: With the Flashback delay I wanted to be able to capture different sounds when I move the knobs in between speeds and also giving extensive feedback so there is really a fast speed with a lot of feedback and you’d get a pitch coming up. Quite often it can get high and annoying, but you can sort of play around with it a little bit. So I kind of pushed the parameters quite a bit.

TC: How long did it take before you were satisfied with the result?
Knox: It didn’t take that long. But I’m never satisfied, that’s the problem. I would say it took 2-3 sessions before I actually got really excited where both Laurence and I were like: ”This is really fun”. The interesting thing is that every time we uncover a little something about it something else pops up and my mind starts racing: ”wow what if we could do this next time!” So there’s a lot that can actually be covered by writing these TonePrints.